This is tender and heartfelt storytelling. Mike Mills has crafted something poignant and moving in “C’mon C’mon” with a trio of superb lead performances from Joaquin Phoenix, Gaby Hoffman and Woody Norman, who delivers one of the greatest, most unaffected child performances in years.

In his directorial debut, ”Hamilton” creator Lin-Manuel Miranda adapts a musical written by “Rent” scribe Jonathan Larson, “tick, tick … Boom!,” chronicling Larson’s own life on the cusp of his 30th birthday. The film is clearly in awe of Larson, not always to its benefit.

Refreshingly playful and fluid action sequences, a relatable leading man and the best villain Marvel has produced makes the latest entry into the MCU one of its best in years.

Stephen Daldry’s “Together” isn’t so much a story about pandemic life – the mundanity and built-up anxiety of the unknown – but about two people who have grown so hostile and distant in their relationship that the mere thought of enduring lockdown together seems near impossible.

“Snake Eyes” prioritizes atmosphere and a general “vibe” over trusting the action set pieces that should provide its thrills. The end result hardly justifies the film’s existence, aside from allowing some actors a moment to shine.

“Luca” is Pixar at its most delicate, an immaculately structured story that might not be the grandest the studio has released, but is one of the most honest. There’s a humanism between the moments of humor and fantasy that anchors the film and makes it a must-watch, and not just for Pixar fans.

A dumb movie can be good as long as it’s fun, and “Mortal Kombat” falters by never achieving that.

Anchored by a moving performance from Kelly Marie Tran and outstanding animation in the film’s most action-packed scenes, “Raya and the Last Dragon” has considerable strengths.

There’s no denying the potent emotion of this story about the aftermath of an adoption that asks what it means to be a parent. 

Immeasurable rage simmers below the surface of “Promising Young Woman,” a biting play on the rape-revenge thriller with a deliberately jarring and divisive tonal shift in the third act.